Richard Dreyfuss

At one time, the youngest actor ever to win the coveted Best Actor Oscar, Richard Dreyfuss - at age 29 - was propelled to stardom with his complex performance in "The Goodbye Girl" (1977). Thanks to h...
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20th Century Fox via Everett Collection
50 years ago today -- March 2, 1965 -- The Sound of Music hit theaters in the United States. In honor of the iconic film's anniversary, we take a look behind the scenes of one of our favorite movies to share some things you may not have known.
1. While singing "I Have Confidence," Julie Andrews accidentally tripped in the Von Trapp courtyard.
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Director Robert Wise felt it added a much needed nervousness to the song and the character, so he decided to use it in the film.
2. Julie Andrews sang "Supercalifragilisticexpialidocious" to the Von Trapp children between filming.
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Since Mary Poppins hadn't been released yet, the kids all thought she made it up just for them.
3. Maria never uses the Captain's first name, Georg.
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She calls him only Captain, Sir, or Darling.
4. Christopher Plummer traveled to the Salzburg mountains to meet Captain's nephew and learn more about the character.
Since very little information was available about Captain Von Trapp for Plummer, he and his interpreter met with Captain's nephew to learn a bit about him. The nephew described the real man as the most boring man he'd ever met.
5. The day after the von Trapp family escaped Austria, Hitler ordered the borders shut.
6. They also took a train station to Italy and safety; they didn't hike over a mountain.
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Salzburg is much closer to Austria's border with Germany, and neither Italy nor Switzerland are within walking distance.
7. If they had hiked over a mountain, they'd find themselves near Hitler's mountain retreat in Germany.
8. Charmian Carr (Liesl) has admitted she was attracted to Christopher Plummer, who played her father.
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Despite the 13 year age difference, Plummer admits that the feeling was mutual. He insists it never evolved beyond flirtation.
9. Director Robert Wise didn't get along with the real Maria von Trapp when she came to the set.
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He called her "bossy."
10. In the original play, ideological differences drive the Captain and the Baroness apart.
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She wouldn't stand up to the Nazis, and he refused to compromise with them.
11. Grace Kelly had been considered for the part of the Baroness, but was a bit too busy, you know, being a princess.
12. The gazebo scene with Maria and the Captain was made a silhouette to hide the uncontrollable laughter of Julie Andrews.
20th Century Fox via Everett Collection
According to Andrews, a lighting device kept making a certain "raspberry" noise every time she leaned in to kiss Plummer. After more than 20 takes, the scene was changed to a silhouette to make her laughter less noticeable.
13. The real Von Trapp children weren't pleased with how stern their father was portrayed.
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Maria Von Trapp had asked Wise to soften the character a bit, but the director refused.
14. Kurt's high note in "So Long, Farewell" is actually sung by Liesl's real life younger sister.
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The note was out of Duane Chase's range, so Charmian Carr's sister, Darlene, sang it instead.
15. Mia Farrow auditioned for the role of Liesl.
Liza Minnelli and Sharon Tate were also among those who tested for the part.
16. Christopher Plummer admits he was drunk when they filmed the music festival sequence.
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17. The movie is one of only four films to win both the Tony Award for Best Musical/Play and the Oscar for Best Picture.
The others are My Fair Lady, A Man For All Seasons, and Amadeus.
18. Charmian Carr (Liesl) danced through "Sixteen Going On Seventeen" on an injured ankle.
During the first take of this scene, Carr slipped while leaping from a bench and fell through glass. She wasn't badly hurt, but her ankle was injured and needed to be wrapped for the scene.
19. Even though nobody had seen how she would perform on screen yet, Julie Andrews was always director Robert Wise's first choice.
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20. Yet she almost turned down the part, fearing it was too similar to Mary Poppins.
21. The actress who played Marta, Debbie Turner, kept losing teeth during filming.
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They had to be replaced with false teeth.
22. The children kept growing during filming, so lots of heel lifts and camera tricks were needed for height continuity.
Louisa (Heather Menzies-Urich) started production three inches taller than Friedrich (Nicholas Hammond); he had to wear lifts. By the end of filming, he'd grown six inches. Liesl (Charmian Carr) had to stand on a box while Friedrich didn't wear shoes to help keep their heights consistent.
23. Nicholas Hammond had to endure a bunch of painful bleachings to turn brown hair blond for the film.
24. Christopher Plummer disliked filming so very much that he referred to the movie as "The Sound of Mucus."
25. Kurt Russell, Richard Dreyfuss, and Veronica Cartwright were among those who auditioned for roles as von Trapp children.
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As did the four oldest Osmond brothers: Alan, Jay, Merrill, and Wayne.
26. The gazebo's interior scenes were shot in Los Angeles.
The inside of the actual gazebo was too small to accommodate the dance numbers.
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27. The gazebo can still be seen in Salzburg, but only from the outside.
Visitors were too frequently attempting to dance along the benches and injuring themselves, so the interior is now off limits.
28. Julie Andrews learned to play guitar specifically for this role.
29. Christopher Plummer also learned to play guitar for the role...but his playing was dubbed.
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30. Christopher Plummer asked for "Edelweiss" to be replaced.
He thought the song was trite and "schmaltzy" and asked for it to be written out. Screenwriter Ernest Lehman refused.
31. There was nobody at the altar to officiate the wedding during filming because someone forgot to wake the actor.
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32. Julie Andrews has also claimed that the actual bishop of Salzburg can be spotted in the wedding scene.
33. It's not really Kym Karath (Gretl) on Captain's shoulders in the final shot as they climb the mountains to safety.
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Karath had gained a bit of weight while filming in Austria, and evidently Christopher Plummer found her too heavy to carry on his back. He requested a stunt double.
34. Which is funny, since Plummer's weight gain required his costumes to be refitted for his extra mass.
He admitted he ate and drank in Austria in order to better cope with the unhappiness he felt from filming.
35. The movie features a rare onscreen performance by famed ghost singer Marni Nixon.
She played Sister Sophia. Nixon, who had previously done the vocals for Natalie Wood in West Side Story, Deborah Kerr in The King and I, and Audrey Hepburn in My Fair Lady. Since Julie Andrews played Eliza Doolittle in the Broadway version but was passed over in favor of Hepburn for the film, producers were nervous to learn how she would react to Nixon's casting. Andrews approached her and exclaimed, "Marni, I'm a fan of you!"
36. Christopher Plummer has said working with Julie Andrews is like "being hit over the head with a big Valentine's Day card."
37. Julie Andrews kept getting knocked over from the helicopter's wind.
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Though that iconic spin looks warm and sunny, Andrews only remembers how cold she was as she repeatedly ran across the mountain with the ferocious winds of the chopper above. She tried digging her feet into the ground without luck.
38. Director Robert Wise climbed a nearby tree in order to film that first musical number; he wanted to be able to watch the helicopter filming without getting in the shot himself.
39. Sean Connery and Richard Burton were both considered to play Captain.
40. The real Maria von Trapp makes a cameo.
In the "I Have Confidence" scene, as Julie Andrews walks beneath a brick archway, the real Maria can be seen behind her, dressed as a peasant.
41. Heinrich Himmler, famed Nazi, took over the von Trapp house after they escaped. Adolf Hitler visited him there more than once.
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42. Kym Karath (Gretl) couldn't swim, so Julie Andrews was responsible for catching her when they fall out of the boat and into the water.
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On the second take, the boat tipped in a way that sent Andrews flying one way and Karath falling out the other side. Heather Menzies-Urich (Louisa) was tasked with saving her instead, which Andrews was haunted by.
43. Subsequently, Karath threw up all over Menzies-Urich after swallowing too much water.
44. The cast had to be continually hosed down in order to maintain a soaking wet look after falling into the water.
45. Liesl may have been 16 going on 17, but she was actually older than Rolfe.
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Charmian Carr was 22 at the time she sang that song; Daniel Truhitte, who played Rolfe, is ten months younger than she is. Now who's older and wiser?
46. Shirley Jones, Anne Bancroft, and Doris Day were all considered for the part of Maria.
47. Robert Wise initially turned down the opportunity to direct the picture.
Stanley Donen, Vincent Donohue, Gene Kelly, and George Roy Hill were also approached and said no.
48. Mary Martin, wife of the producer of the original Broadway show and the first woman to play Maria made nearly $8,000,000 from the film.
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While Julie Andrews earned just $225,000.
49. According to British tabloid The Sun, it's one of the films chosen to show after a nuclear strike to improve morale.
Though this is unconfirmed by the BBC who declared it a security issue.
50. Peggy Wood (Mother Abbess) had a hard time lip-syncing along to "Climb Ev'ry Mountain."
She struggled to perfectly match the first word of the song, so director Robert Wise had her face away from camera when she began singing. When she looked at camera, she had caught up with the song enough to perfectly pass. The effect of her staring out the window in the beginning added a mystical element to the song and fit in better than originally planned.

Jaws star Richard Dreyfuss has been cast as convicted Ponzi scheme conman Bernie Madoff in a new TV drama. The series will be based on Brian Ross' book The Madoff Chronicles: Inside the Secret World of Bernie and Ruth.
Madoff was a former stockbroker and financier who was convicted of fraud in what is considered the largest financial fraud in U.S. history.
Sources tell The Hollywood Reporter a number of top actresses are in the running to play Madoff's wife Ruth.

Mel Brooks, Molly Ringwald and Richard Dreyfuss were among the stars who turned out to pay tribute to director Paul Mazursky at a memorial service in California on Friday (05Sep14). The Oscar-nominated moviemaker passed away on 30 June (14), aged 84, after suffering a cardiac arrest, and his friends, family and former colleagues gathered at the Writers Guild Theater in Beverly Hills, California on Friday to pay their last respects.
The memorial service was attended by famous faces including Nick Nolte, Ed Begley, Jr. and Elliott Gould, while a number of celebrity guests also gave tributes to the late director.
Speakers included actors George Segal, Michael Greene and Molly Ringwald, who called Mazursky the "best director I ever worked with," before singing I'll Be Seeing You, accompanied by her father Bob on piano.
Jaws star Richard Dreyfuss, who starred in three Mazursky films, explained how he idolised the filmmaker, saying, "When I was around Paul, I wanted to be Paul. And I like being Richard. But I wanted to be Paul."
Mel Brooks took to the stage last and used his tribute to compare Mazursky to legendary directors including Federico Fellini and Vittorio De Sica, telling the audience, "In my assessment, he was our Fellini, our De Sica. The best capturer of human behaviour on film was Paul."
The service ended with a montage of film clips and a performance by singer/actress Ellen Greene, who gave a rendition of Goodbye, My Friend.

Universal Pictures via Everett Collection
Is there anything as relatable and resonant as the coming-of-age film? Throughout our lives, select few of us will ever save the world, fall in love with a computer, or beat back an ape rebellion in blockbuster fashion. But almost everyone knows what it feels like to grow up. The joys, pain, wonders, and hard truths coupled with growing older are universally felt. The best films in the genre can make us feel like they have a direct line to our souls, and the experience of watching our own truths play out on screen is something special. In celebration of Boyhood, Richard Linklater's childhood epic 12 years in the making, our staff members share their favorite coming of age films, and why they mean so much to them.
The Breakfast Club, Julia EmmanueleI wasn't yet a teenager the first time I watched The Breakfast Club, but I still remember thinking that for the first time in my life, it felt like someone really understood what growing up was like. Whether it was the terror of growing up or their struggles to be who they wanted to be, rather than what their parents expected, or the facades they put up to fit in or keep other people out, I saw some of myself in every one of these characters; I still do, despite all the years that have passed since. And even though it never alleviated my fears about becoming an adult, it did give me five people who felt the same, and that’s been enough.
Thirteen, Cory MahoneyThirteen is probably the scariest movie of 2003. Co-written by 15-year-old Nikki Reed, the film opens with two 13-year-old girls high from huffing and hitting each other. Dealing with topics from teens cutting, partying, and sexual experimentation to parents with addictions and unconventional families (to say the least), the film was at once terrifying and relatable. The memorable lines ("No bra, no panties" or "The Itsy Bitsy Spider dropped acid in the park"), like this film, will always remain in my teen memories, whether I want them to or not.
Stand By Me, Jordan SmithThe saddest part in Stand by Me is that after that epic summer day filled with leech attacks, random deer, evil Keifer Sutherland, and boyhood intimacy, Richard Dreyfuss’ voiceover explains how the four main characters couldn’t stay friends forever. How life pulled them in different directions. It’s a brutal lesson to punctuate the film with, but a vital one. Life changes. It always does. It has to. But when you’re young, everything feels like forever. All those little moments and tiny tragedies felt so sacrosanct. I swore I’d know my childhood friends forever. Who knew years later, I’d be fumbling for their names.
City of God, Shannon HoustonWith the incredible non-linear storytelling, the stunning cinematography, and all of the gangsta stuff going down, it’s easy to forget that City of God is really a coming-of-age story. I connected on so many levels with Rocket when I was 17 years old and first saw the movie in theatres. Cleveland isn’t the City of God, but I was a budding artist hoping for a way out. Watching him defy the odds, risk his life, and use his talents as a photographer to tell an incredible story that mainstream journalism couldn't tell was both empowering and inspiring.
The Goonies, Cyndi CappelloI’ll always remember the first time I watched The Goonies. Not only did I have a massive crush on Mikey, but everything about the storyline pulled me in. The older I got and more times I watched it, the more it spoke to me. I kept to myself when I was younger, and seeing the amount of trust the characters had in each other made me want to find relationships like that more than anything. Seeing the bond develop between the variously aged characters from the beginning to end of the film made me realize that you can find friendships in anyone. Thanks to The Goonies, I realized that friends can truly become part of your family.
Breaking Away, Michael ArbeiterAppropriately enough for the theme, Breaking Away is probably the only film recommendation that my mother ever gave to me. Her suggestion of the flick was inspired by my preteen proclivity to speak exclusively in Spanish and Italian phrases around our non-Spanish/Italian-speaking household, but more substantially by the "aimless, big dreaming loser" motif that she knew I'd be able to empathize with. In its paradoxical erratic lull, Breaking Away is one of the best illustrations of the graduation from childhood that we've seen on the big screen... a sweet, sad, answer-less picture that appreciates what it means to have no idea what's next.
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20th Century Fox Film via Everett Collection
Whether they're battling for survival, the planet, or just the God-given right to boogie down at the local country club, man and nature have always been at each others throats at the movies. Across the cinematic landscape, a great many battles have been waged between humans and animals, and as viewers, our sympathies often shift between the species. With Dawn of the Planet of the Apes hitting theaters tomorrow, here are our favorite man versus animal films, and who we side with in each expedition.
The GreyWhat's it about? After crash-landing in the Alaskan wilderness, a group of men must survive the elements and a pack of feral wolves.What are the humans fighting for? Surviving 'til the end credits.What are the animals fighting for? Tasty chunks of Liam Neeson.Who do we root for? Once Neeson strapped those tiny booze bottles to his knuckles, we were firmly on team Liam.
The BirdsWhat's it about? Swarms of birds begin attacking a sleepy California town.What are the humans fighting for? Their safety, clean cars.What are the animals fighting for? It's never explained, but we're guessing tastier bread crumbs.Who do we root for? The birds... hey, it's a Hitchcock movie, so we just root for mayhem.
Once Upon a Forest What's it about? Three young forest animals try to save a friend, who is wounded by chlorine gas from a human truck accident. What are the humans fighting for? Nothing in particular. What are the animals fighting for? Survival, their friend, their home. Who do we root for? Since the humans accidentally orphan a tiny woodland creature, it's obvious we're rooting for the animals.
CaddyshackWhat's it about? Bill Murray tries to kill a pesky gopher terrorizing Bushwood Country Club.What are the humans fighting for? The golf course, their sanity.What is the animal fighting for? The gopher just wants to cause as much chaos as possible and dance like crazy.Who do we root for? Definitely the gopher. He's all right. Don't gotta worry 'bout him.
How to Train Your DragonWhat's it about? On the Island of Berk, a young boy befriends a dragon in the midst of a human/dragon feud.What are the humans fighting for? Their safety and their livestock.What are the animals are fighting for? Sheep. Freedom. Mostly sheep.Who do we root for? The dragons, obviously. Vikings are cool, but... c'mon. Dragons.
JawsWhat's it about?: Three men try to take down a gigantic shark that's been terrorizing a beach town.What are the humans are fighting for? Survival, pride, and shark teeth to sell to tourists.What is the animal is fighting for? The right to eat silly beach-goers.Who do we root for? After all that male bonding, how could we not root for Richard Dreyfuss and co?
King Kong What's it about?: A mythical gigantic ape is captured and forced to move to New York City. What are the humans are fighting for?: Money, fame, a dangerous circus exhibit that will totally never backfire.What is the animal fighting for? Freedom, his human woman, a chance to see that Empire State Building that everyone's been talking about. Who do we root for? King Kong, because no one should be forced to live in Midtown.
Rise of the Planet of the ApesWhat's it about? James Franco starts humanity down the slippery slope of extinction by making apes really smart.What are the humans fighting for?: Some for tyranny, some for survival.What are the animals fighting for?: Respect, dominance, way more bananas.Who we rooted for: The writing is on the wall. Let's embrace our ape overlords.
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Oscar winner Richard Dreyfuss' wife has been arrested for driving under the influence (DUI) and hit-and-run. Svetlana Dreyfuss was detained by cops in Encinitas, California on 2 June (14) after she allegedly smashed her car into a fence, severing a water line, before driving away.
Police managed to track her down two miles (3.22 kilometres) away. She underwent sobriety tests and was subsequently booked on DUI and hit-and-run charges.
Dreyfuss famously gave up booze in 1982 after blacking out while behind the wheel and crashing his car.

Universal Pictures via Everett Collection/Walt Disney Studios via Everett Collection
As Memorial Day approaches, American moviegoers prepare for an onslaught of summer blockbusters. Whether it's the latest edition of a franchise like X-Men: Days of Future Past or the possible beginning of one like Guardians of the Galaxy, everyone has gotten used to big, expensive films hitting the multiplex when the weather gets warm.
Of course, it wasn't always that way. The mid '70s work of Steven Spielberg and George Lucas helped usher in the current model that studios use in setting their summer releases. While the work of the two directors is iconic, what's followed hasn't always lived up to the term "blockbuster." Our writers argue whether things were better in the days when Lucas and Spielberg ruled the roost or if we're in a new golden age of big budget extravaganzas.
The Spectacular Spielberg (Jon Lisi)
Let’s just assume for a second that Jaws was never released in the summer of 1975.
Cynics might claim that the brilliant New Hollywood films of the 1970s like Five Easy Pieces, Nashville, and The Conversation would continue to be made as a result, but we all know that this so-called “American New Wave” was on the inevitable decline. Instead, we’d have to imagine a cinema in which the first major summer blockbuster from Hollywood was not Spielberg’s terrifying monster movie.
Is it possible to picture the summer blockbuster without Jaws? I don’t think so. For better or worse, Jaws is the gold standard to which all future summer blockbusters have been judged. The question that is asked as a result, then, is whether or not contemporary summer blockbusters like Transformers, Iron Man, The Avengers and other superhero amalgamations compare in quality to past summer blockbusters like Jaws, E.T., Back to the Future, and Ghostbusters?
If we are to answer this question honestly, we need to remove any consideration of money. After all, plenty of movies do well at the box office, and the massive success of the Twilight franchise shows how few of them are actually good. Instead, we need to focus on what the first summer blockbusters like Jaws and Star Wars had that contemporary ones like Transformers and Iron Man lack.
The most significance difference, I think, is that a summer blockbuster like Jaws isn’t about a shark, whereas a summer blockbuster like Transformers is about alien robots. That is, Jaws uses a series of shark attacks to investigate small-town mentality in an entertaining way. You can certainly sit back and enjoy the film literally — as a monster movie — but Spielberg wants you to think about what the shark reveals about American community and the ways individuals work together to solve a common problem.
Transformers, by contrast, doesn’t offer anything interesting beyond the initial spectacle. The digital effects may lure you into the theater, but after the stuff blows up, you aren’t left with anything to ponder. This may not matter to prepubescent boys, but for those interested in mainstream fare that is also intelligent, the contemporary summer blockbuster doesn’t suffice.
I’m aware that there are exceptions. For instance, the films by Christopher Nolan merge commerce and art quite successfully, as do most Pixar films. However, these are anomalies, and for the most part, contemporary summer blockbusters have failed to live up to the standard Jaws set nearly 40 years ago.
A Marvel-ous New Era (Brendon McCullin)
The passage of time tends to lend a glow to the early blockbusters of Spielberg and Lucas. In reality, Spielberg went the Hitchcock route with Jaws because he was forced to by external conditions. And we can argue how much the performances by Richard Dreyfuss, Roy Scheider and Robert Shaw had to do with his directing. Lucas, for his part, might have been great at story concepts but he always had a tin ear when it came to dialogue (leading to the famous Harrison Ford rant, "You can type this s**t, but you sure as hell can't say it").
That's not to denigrate what Spielberg and Lucas did — they each authored cultural phenomena that altered American filmmaking and the movie industry as a whole — but let's not go too crazy. Some of their contemporaries, particularly screenwriters like John Milius and Robert Towne, may have liked them personally, but didn't always love how they handled their craft.
The fact is there has always been and will always be a place in Hollywood for big, crowd-pleasing popcorn movies… and there have always been good and bad ones. Just because Jaws was better than The Towering Inferno and Star Wars was better than Airport '77 doesn’t necessarily kick into the same strata of cinematic history as The Godfather.
If we were having this argument 15 to 20 years ago, I would be completely on board. Back when Michael Bay was unleashing a steady stream of trash like Armageddon and The Rock on audiences and what amounted to good storytelling was Will Smith making wisecracks while fighting aliens in Independence Day… well, yes, that was a low point for summer blockbusters. Heck, that was a low point for film in general.
Since then, however, a new group of filmmakers who value story as much as visual pyrotechnics have taken the lead on some of the biggest tent-pole movies in recent years. Some of them, such as Joss Whedon (The Avengers) and J.J. Abrams (Star Trek) come from the writer dominated domain of television. Others, like Jon Favreau (Iron Man) and Kenneth Branagh (Thor) are themselves actors and work to make their stars look good.
Combine that group with the aforementioned Nolan (The Dark Knight) and the Pixar team under John Lasseter and really, you would be hard pressed to find another period that matched the number of talented, conscientious, and literate filmmakers that are willing to helm blockbusters.
The nice thing is that many of these directors — particularly Whedon and Abrams — clearly gained some of their sensibilities as youngsters watching the films of Lucas and Spielberg. You're never going to get rid of people like Bay and movies like his Transformers franchise, but blockbusters are in as good of hands now as they've ever been.

"The fact is, when I first saw the film, it scared the hell out of me. I forgot I was in it. To this day, I won't walk off the beach into the water. I will however, scuba." Jaws terrified leading man Richard Dreyfuss.

Eddy Chen/FOX
After a massively successful Super Bowl episode, Brooklyn Nine-Nine is ready to party. Unfortunately, that party is for Captain Holt's birthday, and none of these people know how to behave in a rational, appropriate manner in any situation. Therefore, it falls to Terry to keep the rest of the precinct from embarrassing Holt by showing up late, spending the whole evening on their phones, wearing shorts, or forgetting to bring a bottle of wine. But since this is Brooklyn Nine-Nine, they interpret those instructions as "embarrass yourself trying to impress Holt's husband, take photos of the inside of their cabinets, steal things, and massively violate their privacy."
But in an episode filled with great one-liners and weird, childish behavior, which one of the weirdos at the 99th precinct managed to be the life of "The Party?"
Terry Jeffords This week's episode belongs almost entirely to Terry, who has the thankless task of attempting to get the cops to behave like functional, respectable adults for one evening. With all of the focus that the show has placed on Terry's fears, it is a nice change of pace to see him be the mature, responsible one for a change (though still highly anxious).- After telling Boyle to only talk about food: "That's great stuff. So boring. Don't waste it."- Helping the group play to their strengths: "Amy, you studied art history. That's... interesting. Scully, opera. Hitchcock, nothing. Talk about nothing."- He leads the group in a hands-in cheer of "Be appropriate!" Quietly, of course. And then tells them, "Break it up, we look weird." - Key party advice from Terry Jeffords: "Don't move as a group! You're not gazelles!" "STOP EATING CRAB WRONG!" and, when in doubt, "Keep a low profile, chuckle at anecdotes, and try not to start any conversations."- Terry breaks his cell phone with his bare hands while threatening Peralta: "It's okay. I'm due for an upgrade, and my babies are on the cloud." - There was a great callback to Breathless being Terry's favorite cop film, and he argues with two of Kevin's colleagues about whether or not films are a "writer's medium." Terry is a big fan of the French New Wave. - To Santiago and Peralta: "I cannot believe you would both violate the 'Please stay downstairs' rule, which was prominently posted!" - Terry holding Cheddar in his arms was almost as wonderful as Holt carting around those two small dogs a few weeks ago.
Gina When it comes to being inappropriate, nobody is better than Gina, which means that she gets her own personal babysitter for the evening in the form of Diaz. Luckily, the writers come up with a great way to keep Gina incredibly weird without making everyone at the party uncomfortable: plop her down in the middle of a group of psychologists, and just let her talk. - After Terry instructs the group not to war shorts: "What about fancy shorts, like the kind Jen Aniston would wear?" - Terry: "Diaz, you stick with Gina and make sure she doesn't say anything insane or steal something." Gina: "Too late. What? It's mostly scarves and hats." - Diaz: "Gina, what are you thinking about right now?" Gina: "I was thinking about how I would make the perfect American president, due to my skill set, dance ability, and bloodlust." - She introduces herself to one of Kevin's colleagues with "Ashanti." - The montage where Gina dazzles a group of psychologists is the best visual gag of the night, with the crowd around her getting bigger and bigger every time she opens her mouth. Highlights include: "All men are at least 30 percent attracted to me," "My mother cried the day I was born, because she knew she would never be better than me," "At any given moment, I'm thinking about one thing: Richard Dreyfuss, hunkered over, eating dog food," and "I feel like I'm the Paris of people." - Gina's contribution to Holt's birthday dinner is bringing back all of the silverware she stole from their house. And a crystal clock that doesn't belong to them.
Boyle and Vivian Lutley Boyle meets someone who might be the woman of his dreams at Holt's party, food writer Vivian Lutley (Marilu Henner!). They bond over their love of fine dining and make out in the closet like teenagers. It's great to see Boyle put aside his crush on Diaz for a while, as it was starting to move from "awkward and funny" to "awkward and creepy." Hopefully, Henner stays around for a while longer, because we'd love to see what Boyle's like in a real relationship. - Terry: "What happened to your shirt?" Boyle: "I spilled a wonderful winter salsa." - After Boyle describes Vivian's book as having the best recipes for making moss salads, Vivian replies: "The trick is to lean into the dirt taste." - Boyle, winking: "There is nobody in my life. That's sort of a sad thing to wink about, I realize."- The "umami" make out scene in the closet is both wonderfully gross and hysterically funny. These two should stay together for a long time. - Boyle: "Frenching in a closet? I feel like a teenager again!" Vivian: "I feel like I'm 40 again!"
Kevin Cozner He might not be the star of Danzes with Wolvez, but having Holt's husband be even drier and more buttoned-up than the captain is a surprising choice, and one that works really well for the show. - To Peralta: "Ah, you've brought s some wine... drink. This is legally called Wine Drink." - "Could I get you some Wine Drink? Perhaps, all of it?"- Holt: "You've been needling poor Peralta so badly all night that you might as well have made him a new suit." Kevin: "Needling him a new suit? Even when we're fighting you're hilarious. Stop it. Stop it."- After Kevin asks Peralta to call him "Kev": "Well, you are always playing pranks on me, Raymond. Just once, let me be the funny one."
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Actor Jason Priestley's directorial debut, Cas & Dylan, has picked up the Audience Award at the Whistler Film Festival in Canada. The former Beverly Hills, 90210 star stepped behind the camera for his first narrative feature, and the road trip comedy has become a break-out hit at the annual British Columbia movie festival.
The film stars Richard Dreyfuss as a dying man who decides to spend the rest of his days travelling Canada, but ends up on the lam with an eccentric young woman, played by Orphan Black's Tatiana Maslany.
The rising actress was given her own accolade - she won the Best Actor trophy.

Made cameo appearance as Senator Bob Rumson in Reiner's "The American President"

Co-starred with Chris Cooper in John Sayles' political satire "Silver City"

Cast as an aging gangster in the comedy "The Crew"

Returned to Broadway in "Sly Fox" opposite Elizabeth Berkley

Summary

At one time, the youngest actor ever to win the coveted Best Actor Oscar, Richard Dreyfuss - at age 29 - was propelled to stardom with his complex performance in "The Goodbye Girl" (1977). Thanks to his uncanny ability to make annoyingly vain, pompous, whiny or supercilious characters seem both heroic and likable, he rose to the top of the Hollywood heap with memorable turns in "American Graffiti" (1973), "Jaws" (1975) and "Close Encounters of the Third Kind" (1977). Though he was the epitome of cockiness on screen, there was always something reassuring about his presence, though he did gain the dubious off-screen reputation for being exceedingly arrogant. On top of the world at the end of the 1970s, Dreyfuss was poised to become one of the major superstars of the next decade. Instead, Dreyfuss blew his movie-star career sky-high through a cocktail of cocaine, booze and pills; yet another example of too much, too fast, too soon. After a period of recovery, Dreyfuss rebounded, both chastened and wiser with "Down and Out in Beverly Hills" (1986), "Stakeout" (1987) and "What About Bob?" (1991), reclaiming his mantle as one of Hollywood's most gifted comedic <i>and</i> dramatic actors.

Education

Name

San Fernando Valley State College

Beverly Hills High School

San Fernando Valley State College

Notes

Dreyfuss was a charter member of the Los Angeles Classic Theatre Works group.

"I didn't anticipate the guilt and the fear of success. I didn't anticipate the down side of success at all. I started to resist the position I was in by drinking a lot, doing drugs, eating too much, being childish, denigrating my talent." – Dreyfuss in Esquire magazine, Oct. 10, 1978

Arrested for illegal possession of cocaine and Percodan after surviving a 1982 car accident, Dreyfuss underwent a court-ordered rehabilitation in lieu of a trial.

"I'm 50 and stale. What's the big surprise? I've been performing for 41 years and famous for 25 of them. I know my life has been pretty blessed, and part of my Jewish guilt can't accept that. But in the worst moments of my darkest hours, I've never devalued the work I've done. I've always been proud of the aggregate body. And now I've gotta figure out where I want it to lead." – Dreyfuss in the New York Post, Feb. 23, 1998

Dreyfuss suffered from bipolar disorder. In 2006, he appeared in Stephen Fry's documentary "Stephen Fry: The Secret Life of the Manic Depressive," in which Fry (who also had the disorder) interviewed him about his life with manic depression.